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Presented by - Ankita MandeepPraveen Sandeep

EARLY MODERN ERA

HOA -VI

Summary of Modern ArchitectureEarly Modernca. 1850-1900

Late Modernca. 1900-60

culmination of iron-frame architecture (Crystal Palace, Eiffel Tower),Chicago school: skyscrapers (Jenney), functionalism (Sullivan)

international style (Gropius, Corbusier, Mies),Wright (organic architecture)

The fundamental technical prerequisite to large-scale modern architecture was the development of metal framing.

The term industrial age denotes the period of history in which machine-manufacturing (as opposed to manufacturing by hand) plays a major role. This age began ca. 1750 (with the onset of the Industrial Revolution) and continues to this day. The industrial age can be divided into two parts: the iron and steam phase (ca. 1750-1900) and the steel and electricity phase (ca. 1900-present).

The "iron and steam phase" could also be dubbed the age of iron-frame architecture. During this period, cast iron framing was introduced to masonry buildings; masonry walls were gradually relieved of their structural role, eventually becoming a cosmetic "skin" over an iron skeleton of columns and arches. Iron bridges and iron-and-glass buildings (e.g. greenhouses, train stations, markets) were also constructed.

Rise of Metal-frame Architecture

A cast iron frame must use arched construction. The alternative, post-and-beam construction, is not feasible due to the brittleness of cast iron. (The term "brittle" is equivalent to "lacking in tensile strength"

MaterialsAge of iron and steam(aka age of iron-frame architecture)ca. 1750-1900

Age of steel and electricity(aka age of steel-frame architecture)ca. 1900-present

iron-frame masonry buildings,iron-and-glass buildings, iron bridges

steel framing and reinforced concrete serve as theprimary structural materials of large-scale architecture

From the Industrial Revolution (ca. 1750-1850) onward, the world has been filled with machine-made products, which led many artists to fear the decline of applied arts (works of art that serve a practical purpose).

The production of furniture, for instance, no longer required a skilled woodworker; it could simply be churned out of a machine.

Two major positions emerged in response:-I. One position, known as the Arts and Crafts Movement, urged

for a return to traditional, hand-made applied arts. This movement, which emerged in late nineteenth-century England, spread across Europe and the United States.

II. The other position argued that mass-produced goods, skilfully designed, could indeed be beautiful works of art. Machine production results in products with simple geometric forms and plain, unornamented surfaces; instead of rejecting these properties as cold and lifeless, some artists argued that they should be embraced. This approach fuelled the gradual rise of the modern aesthetic.

The Applied Arts Crisis

Iron-frame architecture, which flourished primarily in England, France, and (later) the United States, occupies the transitional phase between traditional and modern architecture. Iron-frame buildings were erected mainly during the "age of iron and steam" (ca. 1750-1900). As noted earlier, this architecture included iron-frame masonry buildings, iron-and-glass buildings, and iron bridges.Utilitarian structures (and utilitarian products in general) were important for demonstrating the aesthetic potential of plain, mass-produced objects. For instance, whereas iron supports in grand architecture were often hidden behind masonry (such that the buildings retained a traditional appearance), they were left exposed in structures where appearance was deemed unimportant (e.g. mills, factories) or where masonry was unnecessary (e.g. bridges, railway stations). Utilitarian buildings also often lacked traditional ornamentation, again due to lack of concern for appearance. As the nineteenth century drew on, many architects began to embrace these features (plain industrial materials and lack of ornamentation) as aesthetically desirable.

Iron bridge , england (18th century)

Early Modern Architecture

Two works of iron-frame architecture are especially famous:- I. Iron-and-glass architecture culminated with London's Crystal Palace (destroyed),

designed by Joseph Paxton (a renowned greenhouse architect) as the main pavilion of the first World's Fair.

II. Some decades later, the foremost iron-frame structure of all time was constructed: the Eiffel Tower, designed by famed bridge engineer Gustave Eiffel.

Crystal Palace Eiffel Tower

Early Modern Architecture

Chicago schoolThe next step in the development of modern architecture was the shift from iron-frame to steel-frame construction. Steel-frame architecture emerged in Chicago, among a circle of architects known as the Chicago school, which flourished ca. 1880-1900.At this point in history, architects faced mounting pressure to extend buildings upward, as cities grew and property values soared. In response, the Chicago school built the world's first skyscrapers. (A good definition of "skyscraper", for discussion of architectural history, is "a metal-frame building at least one hundred feet tall".) The Home Insurance Building (1884; demolished), by William Le Baron Jenney (a member of the Chicago school), is usually considered the very first skyscraper.

Home Insurance Building

While this building featured a metal frame composed of both iron and steel, pure steel-frame construction emerged (in works of the Chicago school) within a decade.

It should be emphasized that in metal-frame architecture, the entire weight of the building is supported by the frame. The building's walls thus serve as mere "curtains" or "screens", which are hung upon the frame simply to seal the building's interior from the elements. In other words, the metal frame is the building's skeleton, while the walls are its skin.

The skyscraper was the great technical achievement of the Chicago school. The school is also responsible for a great aesthetic achievement: the gradual reduction of traditional ornamentation in skyscraper design.

Whereas buildings of ordinary height lend themselves well to traditional styles, skyscrapers were an entirely new building type, for which traditional aesthetics proved unsatisfactory; consequently, skyscrapers accelerated the development of the modern aesthetic.

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Louis Sullivan(September 3, 1856 - April 14, 1924)

This transition away from traditional ornamentation culminated in the development of functionalism by Louis Sullivan, the foremost architect of the Chicago school.

Functionalism is a design approach in which a building is simply designed according to its function, then graced with features that are naturally suggested by its internal structure. This approach, which leads to the simple geometry of the modern aesthetic, is aptly summarized in Sullivan's guiding principle: "form follows function".

Functionalism provided the modern aesthetic with a theoretical foundation; consequently, Sullivan is often referred to as the "father of modern architecture".

FUNCTIONALISM

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Sullivan's masterpiece is the Wainwright Building.The exterior of this building reflects its three-part internal plan (a two-story base, a middle section with seven floors of offices, and a service floor at the top), with a brick pier indicating each column in the steel frame.He gave his building a two-story base, above which the vertical elements are stressed and the horizontals, being recessed, are minimized. These vertical rhythms are capped by a deep decorative frieze and a projecting cornice.The horizontal dividers are recessed behind the piers, which emphasizes the building's verticality: an aesthetic choice that illustrates the creative freedom within the bounds of functionalism. Most surfaces are plain, although the horizontal dividers feature stucco decoration. 10-story Wainwright Building,

Chicago

Wainwright Building.

It was the commission in 1886 to design the Auditorium Building in Chicago that marked the first period of Sullivan’s design maturity

The Auditorium Building in Chicago is one of the best-known designs of Louis Sullivan and Dankmar Adler built in 1889.

Sullivan ultimately chose to design the building in the Richardson Romanesque style that is characterized by massive rusticated stone walls, heavy rounded arches and deeply recessed windows.

AUDITORIUM BUILDING

While Sullivan handled the building’s visual design, Adler was responsible for its engineering and acoustical designWhen completed, it was the tallest building in the city and largest building in the US.

It is a 10-story-high building of granite and limestone with a 17-story tower.In the center of the building was a 4,300 seat auditorium, originally intended primarily for production of Grand Opera. the auditorium was designed so that all seats would have good views and acoustics. Housed in the building around the central space were an 1890 addition of 136 offices and a 400-room hotel

AUDITORIUM BUILDING

Exterior detailAuditorium Theatre interior from the balcony

Interior detail of the Auditorium TheatreAuditorium Hotel – dining hall from the South

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Walter Gropius

Late Modern ArchitectureIn the early twentieth century, the modern aesthetic (simple, unadorned geometric forms) finally matured, becoming the mainstream aesthetic of architecture and design across the world. This was achieved primarily by the Bauhaus, the scope of Bauhaus efforts included architecture, visual art, interior design, graphic design, and industrial design (product design). It should be noted that while Bauhaus designers generally embraced the aesthetic theory of functionalism, deliberate use of this theory (or even familiarity with it) is not a prerequisite to designing works that feature the modern aesthetic. Thus, for any given modern-style building or object, the designer may or may not have had functionalism in mind.

Mechanically opened windows

Dormitory balconies in the residence

The modern aesthetic reached maturity when excess material (including traditional ornamentation) had been completely stripped away, leaving only a basic structure of plain geometric forms. As noted above, this maturation was achieved in the early twentieth century, with the Bauhaus leading the way (in terms of both innovation and propagation). Architecture that features the mature modern aesthetic is known as international style architecture.

Compared to traditional aesthetics, an international style building gives an impression of weightlessness, due to its minimalist, unornamented surfaces, as well as the absence of massive structural walls. A sense of balance is sought in the overall plan, whether via perfect symmetry or balanced asymmetry. The geometry of an international style building is mostly flat; curved shapes are used sparingly, if at all.

The international style's three most influential pioneers were Gropius, Corbusier, and Mies.

Walter Gropius, founder and first director of the Bauhaus, designed the buildings of the school's second campus. Plain walls (white and grey) and screens of glass, sometimes several stories in height, predominate. Gropius' balconies showcase an impressive new structural possibility of steel-frame construction: cantilevering (platforms fixed only at one end), which further contributes to a sense of architectural weightlessness.

International Style

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Le Corbusier

The Swiss architect Le Corbusier, though not a member of the Bauhaus, absorbed and became a leading figure in the international style. He preferred smooth expanses of white reinforced concrete pierced with horizontal strips of windows, as well as a degree of curvilinear geometry Corbusier mainly designed houses; his masterpiece is the Villa Savoye .

(1928-1931)

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VILLA SAVOYEConstructionEstimates of the cost in February 1929 were approximately half a million Francs, although this excluded the cost of the lodge and the landscaping elements (almost twice the original budget).

The project was tendered in February with contracts awarded in March 1929.

Changes made to the design whilst the project was being built including an amendment to the storey height and the exclusion and then re-introduction of the chauffeur's accommodation led to the costs rising to approximately 800,000 Francs.

At the time the project started on site no design work had been done on the lodge and the final design was only presented to the client in June 1929.

The design was for a double lodge but this was reduced to a single lodge as the costs were too high.Although construction of the whole house was complete within a year it was not habitable until 1931.

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DESIGN FEATURES

THE REINFORCED CONCRETE GIVES US THE PILOTIS. THE HOUSE IS UP IN THE AIR, FAR FROM THE GROUND.

THE COLUMNS SET BACK FROM THE FACADES, INSIDE THE HOUSE. THE FLOOR CONTINUES CANTILEVERED. THE FACADES ARE NO LONGER ANYTHING BUT LIGHT SKINS OF INSULATING WALLS OR WINDOWS. THE FACADE IS FREE.

UNTIL NOW LOAD-BEARING WALLS FORMING THE GROUND FLOOR AND THE UPPER STORIES, UP TO EAVES.REINFORCED CONCRETE IN THE HOUSE PROVIDES A FREE PLAN.

THE WINDOW IS ONE OF THE ESSENTIAL FEATURES OF THE HOUSE. REINFORCED CONCRETE PROVIDES A REVOLUTION IN THE HISTORY OF THE WINDOW. WINDOWS CAN RUN FROM ONE END OF THE FACADE TO THE OTHER.

THE GARDEN IS ALSO OVER THE HOUSE, ON THE ROOF

THE STAIRCASE AND THE RAMP IN THE HOUSE

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THE PLAN WAS SET OUT USING THE PRINCIPLE RATIOS OF THE GOLDEN SECTION: IN THIS CASE A SQUARE DIVIDED INTO SIXTEEN EQUAL PARTS, EXTENDED ON TWO SIDES TO INCORPORATE THE PROJECTING FAÇADES AND THEN FURTHER DIVIDED TO GIVE THE POSITION OF THE RAMP AND THE ENTRANCE.THE HOUSE, DESIGNED AS A SECOND RESIDENCE AND SITED AS IT WAS OUTSIDE PARIS WAS DESIGNED WITH THE CAR IN MIND.THE FOUR COLUMNS IN THE ENTRANCE HALL SEEMINGLY DIRECT THE VISITOR UP THE RAMP. THIS RAMP, THAT CAN BE SEEN FROM ALMOST EVERYWHERE IN THE HOUSE CONTINUES UP TO THE FIRST FLOOR LIVING AREA AND SALON BEFORE CONTINUING EXTERNALLY FROM THE FIRST FLOOR ROOF TERRACE UP TO THE SECOND FLOOR SOLARIUM.

CORBUSIER'S PILOTI PERFORM A NUMBER OF FUNCTIONS AROUND THE HOUSE, BOTH INSIDE AND OUT. ON THE TWO LONGER ELEVATIONS THEY ARE FLUSH WITH THE FACE OF THE FAÇADE AND IMPLY HEAVINESS AND SUPPORT, BUT ON THE SHORTER SIDES THEY ARE SET BACK GIVING A FLOATING EFFECT THAT EMPHASISES THE HORIZONTAL FEELING OF THE HOUSE. THE WIDE STRIP WINDOW TO THE FIRST FLOOR TERRACE HAS TWO BABY PILOTI TO SUPPORT AND STIFFEN THE WALL ABOVE. THE VILLA SAVOYE USES THE HORIZONTAL RIBBON WINDOWS FOUND IN HIS EARLIER VILLAS. UNLIKE HIS CONTEMPORARIES, CORBUSIER OFTEN CHOSE TO USE TIMBER WINDOWS RATHER THAN METAL ONES.

DESIGN FEATURES

• Cubism began to appear in the first part of the 20th century. Cubist art often displayed its subject using a series of geometric planes, allowing the viewer to see multiple angles in one piece.

• It has a basic fundamental of resolving things into straight lines and creating architecture out of pure geometric forms, solids and planes- Cubes, Cuboids, Spheres and Cones.

• The geometric abstraction present in Cubist paintings became a pivotal influence on modernism.

• Le Corbusier was the first painter who took pure forms as the subject of his paintings.

Left: Woman with a guitar, by Georges Braque, 1913

Right: Le Guitarist Pablo Picasso 1910

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MIES VAN DER ROHE

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LUDWIG MIES VAN DER ROHE…He established the recognizable style of the 1940s by providing a working vernacular for modernist American design. His earlier work in Germany focused on transforming the skyscraper from a uniform stone block to a more fluid and technically advanced structure. He was one of the first architects to use the glass wall or curtain as a thin "skin" over the "skeleton" of the building's structure. His first executed buildings in the United States were in Chicago—the Promontory Apartments (1948-1949) and the pair of apartment towers for 860-880 Lake Shore Drive (1948-1951). Both relied heavily on steel grids framing long ribbons of glass.

LAKE SHORE DRIVE APARTMENTS: Mies designed a series of four middle-income

high-rise apartment buildings for developer Herb Greenwald (which was built between 1949 and 1951) Lake Shore Drive towers on Chicago's Lakefront.

These towers, with façades of steel and glass, were radical departures from the typical residential brick apartment buildings of the time.

The towers were simple rectangular boxes with a non-hierarchical wall enclosure, raised on stilts above a glass enclosed lobby. The lobby is set back from the perimeter columns, which were exposed around the perimeter of the building above, creating a modern arcade not unlike those of the Greek temples.

This configuration created a feeling of light, openness, and freedom of movement at the ground level that became the prototype for countless new towers designed both by Mies's office and his followers.

Seagram Building (Phillip Johnson & Mies van Der Rohe)

• Completed 1957• New York, NY (park

avenue)• Ludwig Mies van Der

Rohe (and Phillip Johnson)

While Gropius and Le Corbusier made ample use of reinforced concrete, pure glass-and-steel construction in the international style was perfected by Mies van der Rohe (another director of the Bauhaus), who believed so firmly in eliminating all embellishment that his guiding principle was simply "less is more". Mies brought the international style to the height of its influence, as descendants of his glass-and-steel skyscrapers appeared in every corner of the globe.20 The Seagram Building in New York, essentially a steel frame sheathed in curtains of glass, is often considered his masterpiece.Mies' design included a bronze curtain wall with external H-shaped mullions that were exaggerated in depth beyond what was structurally necessary. Johnson collaborated with Mies van der Rohe to design a 39-story skyscraper in 1958. After completion Johnson moved from his glass and steel tower buildings to designing spectacular crystalline structures sheathed in glass.

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FLW

Contemporary with the "Bauhaus age" was the career of the greatest American architect, Frank Lloyd Wright, who (like Corbusier) focused primarily on residential designs.

Wright sought to make his buildings organic; that is, to adjust their layouts and features until they merge with their surroundings, rather than imposing a rectangular box of a house on any given locale. Wright felt that a house should not be located "on" a site, but rather be a natural extension of the site

The exterior walls of a Wright house are articulated in a relatively complex, asymmetrical manner (so as to avoid a stiff, "boxy" appearance), and the house is often visually united with the earth via broad, flat surfaces parallel with the ground (e.g. eaves, cantilevered balconies). Interiors are open and flowing (rather than mechanically subdivided into small rooms), and ample windows (including windows that bend around corners) throughout the house merge the interior with the world outside.

A mixture of building materials (e.g. brick, wood, stone, concrete) further contributes to the sense of the house as an organic feature of the landscape.

Organic Development

Despite the contrast between functionalism and Wright's "organicism", both are clearly modern (i.e. not based on anything traditional), and consequently similar in appearance to a significant degree. Wright shared the functionalist appreciation for rectilinear geometry and plain, undecorated surfaces. One could categorize Wright's architecture as a branch of the international style.

Wright's first great works were his Prairie Houses, built in the Midwest; best-known among them is Robie House in Chicago. His most famous building is Fallingwater, Pennsylvania, while his foremost urban work is the Guggenheim Museum in New York

Robie House Fallingwater Guggenheim Museum

PHILIP JOHNSON

ARCHITECTURAL STYLE THOUGH HE BEGAN IN THE STARK STYLE OF MIES VAN DER ROHE’S WORK, BY

THE 1960S HE HAD TURNED TO A MORE INDIVIDUAL STYLE THAT INCORPORATED HISTORICAL ELEMENTS.

HIS GREATEST INFLUENCE AS AN ARCHITECT WAS HIS USE OF GLASS.

JOHNSON WAS AMONG THE FIRST TO EXPERIMENT WITH ALL-GLASS FACADES, AND BY THE 1980S SUCH BUILDINGS HAD BECOME COMMONPLACE THE WORLD OVER.

HE EVENTUALLY REJECTED MUCH OF THE METALLIC APPEARANCE OF EARLIER INTERNATIONAL STYLE BUILDINGS, AND BEGAN DESIGNING SPECTACULAR, CRYSTALLINE STRUCTURES UNIFORMLY SHEATHED IN GLASS.

HE BELIEVES IN "ARCHITECTURE IS BASICALLY THE DESIGN OF INTERIORS, THE ART OF ORGANIZING INTERIOR SPACE."

WITH THE LATER WORK OF THE 1970S AND 1980S, JOHNSON BEGAN TO MANIPULATE BOTH TEXTURE AND COLOR ON THE EXTERIOR OF HIS LARGER BUILDINGS.

WORKS

GLASS HOUSE ,NEW CANAAN(1949) ONE OF THE WORLD'S MOST BEAUTIFUL YET LEAST FUNCTIONAL HOUSES TRANSPARENT OPEN-PLAN FRAME STRUCTURE WHICH WAS HIS OWN RESIDENCE. IS HEAVILY INFLUENCED BY MIES' FARNSWORTH HOUSE BATH IN BRICK CYLINDER. INCLUDES OUTDOOR SCULPTURE AND A SEPARATE BLANK-WALLED BRICK GUEST

HOUSE SPATIAL DIVISIONS IN THE GLASS BUILDING ARE ACHIEVED BY A BRICK CYLINDER

CONTAINING A BATHROOM, AND BY LOW WALNUT CABINETS—ONE OF THEM

CONTAINING KITCHEN EQUIPMENT. IT WAS A BUILDING REALLY EXPRESSING MANY CONCERNS OF CLASSIC DESIGN, FROM

THE ELEVATED PLACEMENT OF AN OBJECT IN A SPACE, TO ITS SERENE PROPORTION,

GENERAL OVERALL SYMMETRY, AND COMBINING OF A BALANCE OF ELEMENTS

Built in 1949 as Johnson’s primary residence.Set in the landscape with views as its real “walls” The building’s sides are made of glass and charcoal painted steel; floor is brink, not

flush with ground but sits 10 inches above Interior is open separated by low walnut cabinets A brick cylinder contains the bathroom and is the only object that goes from floor

to ceiling. Johnson continued to add new architectural essays to his Glass House Estate

The Glass House: His Masterpiece

Each building in his Glass House complex in New Canaan was an exploration of a new interest, and he was able to leave them as a historic collage of his interests.. He referred

to the Glass House site as his “fifty-year diary.”

The Brick House The Pond Pavilion Painting Gallery

Sculpture Gallery The Ghost House Da Monsta

Simple rectangular plan 56’-0” x 32’-0”

Glass walls

Steel frame structure

Wooden block flooring

Chairs designed by

Mies van der rohe